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in the Square
Louvois occupies the spot where the chapel would have been built. The Salle de la rue de Richelieu had been the principal venue of the Paris Opera since 1794. Very soon after the death of his nephew in February 1820, the king commissioned the architect François Debret to design a new
64:
on the site of the garden of the HĂ´tel de
Choiseul on the rue Lepeletier. Due to the many changes in government and management during the theatre's existence, it had a number of different official names, the most important of which were: Théâtre de l'Académie Royale de Musique (1821–1848),
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On the night of 29 October 1873, the Salle Le
Peletier met the same fate as many of its predecessors: it was destroyed by a fire which raged for 27 hours, believed to have been started by the theatre's innovative gas lighting. Fortunately, in 1858
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Opéra-Théâtre de la Nation (1848–1850), Théâtre de l'Académie
Nationale de Musique (1850–1852), Théâtre de l'Académie Impériale de Musique (1852–1854), Théâtre Impérial de l'Opéra (1854–1870), and Théâtre National de l'Opéra (1870–1873).
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with spoken dialogue. Recitatives were added for a production in
Strasbourg in April 1860. It was first performed by the Paris Opera (with ballet music added) on 3 March 1869. See Loewenberg 1978, column
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The theatre, which was 14,000 square metres in area with a 104 ft. stage, was quite advanced for its time. On 6 February 1822 gas was used for the first time in order to light the stage effects in
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507:
99:, the king decided that the theatre would be demolished in order to build a commemorative chapel in its place. However, the project to build a chapel was never carried out due to the
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180:. The stage and orchestra pit were able to be removed in order to transform the auditorium into a massive hall which could accommodate large balls and other festivities.
140:. Although the theatre was meant to be temporary and was built of wood and plaster, it continued to be used by the Opéra for more than fifty years. Many of the great
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402:(White) and two French aristocrats, the Duke of Brunswick and Count Isouard. The game was played in the Duke's private box during a performance of
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The Salle Le
Peletier was inaugurated on 16 August 1821 with a mixed-bill that opened with the anthem "Vive Henry VIII", and included the composer
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to begin construction on a second theatre at a more prominent location for the
Parisian Opera and Ballet based on the design of architect
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from 1821 until the building was destroyed by fire in 1873. The theatre was designed and constructed by the architect
1420:
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909:
1328:
The Paris Opéra: An
Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
973:
442:
95:, was fatally stabbed on the night of 13 February 1820 in front of the former theatre of the Paris Opera, the
926:
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Levin, Alicia. "A documentary overview of musical theaters in Paris, 1830–1900" in Fauser 2009, p. 382.
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In 1858 the Salle Le
Peletier was the setting for one of the most famous games in the history of
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of the 19th century were presented for the first time on its stage, among them: Rossini's
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The Paris Opéra: an encyclopedia of operas, ballets, composers, and performers
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for the inauguration of the Paris Opera's Salle Le
Peletier on 16 August 1821
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Notes on the Académie Royale de Musique from the Scholarly Societies Project
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The Exploits and Triumphs, in Europe, of Paul Morphy, the Chess Champion
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1214:, Frederick Edge, D. Appleton and Company, New York (1859) pp. 172–173.
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The Principal Ballerinas of the Paris Opera (clockwise from top left):
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The Théâtre de l'Académie Royale de Musique, the official title of the
1285:(third edition, revised). Totowa, New Jersey: Rowman and Littlefield.
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Le Peletier has also been spelled Lepelletier. See Mead 1991, p. 48.
969:(1843) – choreography by Jean Coralli; music by Friedrich Burgmüller
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Lithograph depicting many famous dancers and their patrons in the
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Perspective view of the façade on the Rue Le Peletier (
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1053:(1870) – choreography by Arthur Saint-Léon, music by Léo Delibes
996:(1856) – choreography by Joseph Mazilier; music by Adolphe Adam
977:(1845) – choreography by Joseph Mazilier; music by Adolphe Adam
193:
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Site plan, floor plan, and interior perspective view (1822)
196:, the Salle Le Peletier played host to the heyday of the
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Fauser, Annegret, editor; Everist, Mark, editor (2009).
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Music, theater, and cultural transfer. Paris, 1830–1914
501:
of the theatre during a performance of a ballet (1864)
278:
to grace the stage of the Opéra during this time were
1315:(3 volumes). Westport, Connecticut: Greenwood Press.
919:(1836) – choreography by Filippo Taglioni; music by
985:(1846) – choreography by Joseph Mazilier; music by
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432:. In 1875, the new theatre, today known as the
1451:Demolished buildings and structures in France
957:; music by Adolphe Adam (additional music by
873:(Paris Opera Version) (1869) – Charles Gounod
1270:. Chicago: The University of Chicago Press.
16:Theatre of the Paris Opera from 1821 to 1873
1446:Buildings and structures demolished in 1873
1300:. Cambridge, Massachusetts: The MIT Press.
1253:Opera in Paris, 1800–1850: A Lively History
77:Performance of Charles-Simon Catel's opera
72:
20:
1075:For examples, see Castil-Blaze (1855),
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1255:. Portland, Oregon: Amadeus Press.
13:
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1296:Mead, Christopher Curtis (1991).
228:staging many masterworks for the
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93:Charles Ferdinand, duc de Berry
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48:(sometimes referred to as the
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1426:Former music venues in France
1330:. New York: Greenwood Press.
1298:Charles Garnier's Paris Opera
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108:theatre for the Opéra on the
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463:Perspective view of the fire
424:had hired the civic planner
398:between the American master
97:Salle de la rue de Richelieu
7:
1281:Loewenberg, Alfred (1978).
1191:, J.-N. Barba, 1831 S. 23 (
1092:Encyclopédie d'architecture
635:(1829) – Gioacchino Rossini
627:(1828) – Gioacchino Rossini
608:(1827) – Gioacchino Rossini
50:Salle de la rue Le Peletier
10:
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1441:Theatres completed in 1821
1343:Paris: a musical gazetteer
1179:Simeone 2000, pp. 191–192.
846:(1865) – Giacomo Meyerbeer
784:(1849) – Giacomo Meyerbeer
765:(1844) – Louis Niedermeyer
757:(1843) – Gaetano Donizetti
733:(1840) – Gaetano Donizetti
673:(1836) – Giacomo Meyerbeer
483:
68:
1345:. Yale University Press.
1283:Annals of Opera 1597–1940
1251:Barbier, Patrick (1995).
1034:(1866) – choreography by
1019:(1860) – choreography by
1004:(1859) – choreography by
949:(1841) – choreography by
930:(1840) – choreography by
904:(1832) – choreography by
889:(1828) – choreography by
827:(Paris Version) (1861) –
749:(1843) – Fromental Halévy
741:(1841) – Fromental Halévy
703:(1838) – Fromental Halévy
183:
1421:Former theatres in Paris
1161:Pitou 1990, pp. 758–760.
1139:Barbier 1995, pp. 34–35.
1094:, vol 4 (1875), pp. 7, 8
385:
321:during a state visit of
274:(1870). Among the great
1364:Opéra National de Paris
1341:Simeone, Nigel (2000).
1189:Almanach des spectacles
1001:Le marché des innocents
854:(1867) – Giuseppe Verdi
838:(1862) – Charles Gounod
819:(1857) – Giuseppe Verdi
811:(1855) – Giuseppe Verdi
803:(1854) – Charles Gounod
449:Fire of 29 October 1873
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325:(4 June 1867)
808:Les vĂŞpres siciliennes
84:
56:) was the home of the
37:
1416:Opera houses in Paris
1326:Pitou, Spire (1990).
1311:Pitou, Spire (1983).
1170:Simeone 2000, p. 192.
654:(1833) – Daniel Auber
232:. Among these works:
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959:Friedrich BurgmĂĽller
936:Napoléon Henri Reber
613:La muette de Portici
594:Le siège de Corinthe
567:The backstage area (
422:Emperor Napoleon III
162:(1835), and Verdi's
150:(1829), Meyerbeer's
138:Le Retour de ZĂ©phire
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886:La fille mal gardée
436:, was inaugurated.
1198:2022-01-30 at the
1099:2021-10-04 at the
1085:2021-10-04 at the
974:Le diable Ă quatre
927:Le diable amoureux
916:La fille du Danube
800:La nonne sanglante
738:La reine de Chypre
599:Gioacchino Rossini
535:Lithograph of the
230:Paris Opera Ballet
89:King Louis XVIII's
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1397:48.87306; 2.33889
1351:978-0-300-08053-7
1321:978-0-686-46036-7
1306:978-0-262-13275-6
1291:978-0-87471-851-5
1276:978-0-226-23926-2
1261:978-0-931340-83-3
1227:premiered at the
1121:Mead 1991, p. 48.
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1025:Jacques Offenbach
891:Jean-Pierre Aumer
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645:Giacomo Meyerbeer
581:Notable premières
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649:
638:
630:
624:Le comte Ory
622:
618:Daniel Auber
611:
603:
592:
585:
584:
537:Grande Salle
536:
499:Grande Salle
498:
418:
406:
389:
376:
359:
316:
296:Lucile Grahn
269:
268:(1866), and
263:
257:
251:
245:
239:
233:
222:Jean Coralli
206:Jules Perrot
200:, with such
187:
177:
170:
163:
157:
151:
145:
142:grand operas
137:
124:
118:
103:. Today the
86:
78:
53:
49:
45:
41:
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18:
1395: /
1044:LĂ©on Minkus
1040:LĂ©o Delibes
1038:; music by
1023:; music by
1016:Le papillon
1008:; music by
993:Le corsaire
934:; music by
908:; music by
901:La Sylphide
893:; music by
843:L'Africaine
816:Le trouvère
781:Le prophète
730:La favorite
719:Les martyrs
651:Gustave III
572: 1840
519: 1870
400:Paul Morphy
340:Lise Noblet
315:The ballet
259:Le papillon
253:Le corsaire
235:La Sylphide
58:Paris Opera
34: 1821
28:Paris Opera
1410:Categories
1383:02°20′20″E
1380:48°52′23″N
1058:References
851:Don Carlos
824:Tannhäuser
746:Charles VI
396:Opera Game
276:ballerinas
165:Don Carlos
46:Lepeletier
1223:Gounod's
1152:: 38, 44.
1031:La source
862:(1868) –
792:(1851) –
773:(1847) –
770:JĂ©rusalem
722:(1840) –
711:(1838) –
692:(1837) –
689:Stradella
681:(1836) –
662:(1835) –
643:(1831) –
616:(1828) –
597:(1826) –
404:Bellini's
265:La source
176:'s opera
1196:Archived
1097:Archived
1083:Archived
1080:, p. 172
1050:Coppélia
659:La Juive
362:in 1831.
271:Coppélia
262:(1860),
256:(1856),
250:(1846),
244:(1841),
238:(1832),
168:(1867).
159:La Juive
134:Gardel's
129:and the
91:nephew,
1246:Sources
982:Paquita
966:La PĂ©ri
946:Giselle
879:Ballets
484:Gallery
318:Giselle
247:Paquita
241:Giselle
136:ballet
121:Catel's
69:History
52:or the
1349:
1334:
1319:
1304:
1289:
1274:
1259:
1193:online
1089:, and
859:Hamlet
586:Operas
539:(1854)
394:, the
379:(1841)
354:, and
298:, and
224:, and
194:London
184:Ballet
123:opera
1225:Faust
1063:Notes
870:Faust
789:Sapho
408:Norma
392:Chess
386:Chess
87:When
1347:ISBN
1332:ISBN
1317:ISBN
1302:ISBN
1287:ISBN
1272:ISBN
1257:ISBN
1238:939.
1042:and
953:and
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521:)
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